Othello Iago Is Introduced in the First

Othello

Iago is introduced in the first scene of the play, setting its tone and offering foreshadowing of the impending tragedies about to befall Othello. His opening statements to Roderigo garner some initial sympathy among audience members or readers. Iago is irate because Othello chose Michael Cassio, "a Florentine," to be the head lieutenant. According to Iago, Cassio is "mere prattle without practice," a man completely undeserving of the political post or having a "fair wife," (I, i,26; 21). Iago claims he should have been next in line for the position: he is experienced in the military and with Othello's own campaigns. Iago was right there with Othello in Rhodes and Cyprus, he states. Yet "preferment goes by letter and affection," and not to who is more experienced, deserving, or suitable (I, i,36). Iago lost the popularity contest; he is aware of this fact and now the audience is too. To top it all off, Iago was in love with Desdemona, who is now married to the Moor. The bitterness with which Iago speaks in the first scene rapidly erodes the audience's faith in him. By the end of the first scene of the play, it becomes apparent that Iago intends to channel his anger into deeds of death and destruction. No matter how many hardships Iago has suffered, or claims to have suffered, his actions are utterly immoral and baseless.

One of the first signs that Iago is unjustified in pursuing his vengeful campaign is the way he demonstrates false love for Desdemona. True love does not entail wishing evil upon the lover's family, which Iago most certainly does in the first scene of the play. Iago tells Roderigo, for example, "Call up her father / Rouse him…poison his delight…plague him with flies. Though that his joy be joy, / Yet throw such changes of vexation on't / As it may lose some color," (I, i,71-77). His ego is so big, and so bruised, that Iago has a bloated sense of self-importance; he sees his being snubbed as meaningful as a fire in a city (I, i,80). Iago then proceeds to shock Brabantio by lying about there being thieves in his house. His behavior is puerile and already passive-aggressive. Instead of confronting Othello directly about his being passed over for the lieutenant position, Iago takes out his anger on completely innocent people -- such as Brabantio. He insults Brabantio to his face, such as when he has the audacity to paint a picture of Desdemonda and Othello "making the beast with two backs," (I, i,127). As if picturing his daughter having sex is not enough of a humiliation, Iago then compares the role of Senator to that of a villain (I, i, 129). If Iago truly loved Desdemona, he would never treat her father in such a demeaning and terrible manner. Therefore, Iago's behavior is completely out of proportion to the wrongs he personally suffered.

It may have been wrong for Othello to choose Cassio as the lieutenant; Othello could be faulted for this and Iago justified in his anger. However, the audience actually never hears about why Othello selected Cassio over Iago from the Moor's perspective. Shakespeare implies possible reasons: one certainly being the fact that Cassio is more likeable, agreeable, and easier to get along with than Iago. After the first scene of the play, it is hard to imagine anyone wanting to serve with Iago, or have him as a right-hand man. After all, he is not only disagreeable and egotistical in character, but he also lies and backstabs ruthlessly. Cassio is easily to more trustworthy and reliable of the two candidates for Othello's lieutanant. The honesty and integrity of Iago is certainly called into question by the end of the first scene of the play, as the audience sees how conniving and deceitful the ensign can be. He talks behind peoples' backs, especially that of the boss he claims to have wanted to serve with. Of Othello, Iago states, "I do hate him as I do hell-pains / Yet for necessity of present life, / I must show out a flag and sign of love," (I, i,167-169). Iago compulsively lies to get what he wants or just to hurt people; and he destroys reputations out of malicious spite. There is also never an ounce of remorse in Iago, either. When the truth erupts at the end of the play, Iago has the audacity to accuse Emilia of being "mad," not him, and twist it around so that Emelia looks like a fool (V, ii,227). Iago has become morally corrupt prior to the start of the play -- if he ever had moral scruples to begin with.